Translated.

But the quality of the imagination is to flow, and not to freeze. 

The poet did not stop at the color, or the form, but read their meaning; neither may he rest in this meaning, but he makes the same objects exponents of his new thought.  

For all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead.  

The morning-redness happens to be the favorite meteor to the eyes of Jacob Behmen, and comes to stand to him for truth and faith; and he believes should stand for the same realities to every reader. But the first reader prefers as naturally the symbol of a mother and child, or a gardener and his bulb, or a jeweller polishing a gem. Either of these, or of a myriad more, are equally good to the person to whom they are significant. Only they must be held lightly, and be very willingly translated into the equivalent terms which others use… 

Let us have a little algebra, instead of this trite rhetoric, – universal signs, instead of these village symbols, – and we shall both be gainers. The history of hierarchies seems to show, that all religious error consisted in making the symbol too stark and solid, and, at last, nothing but an excess of the organ of language.

Ralph Waldo Emerson, “The Poet”